Repositioning High-Fidelity

Turntables to Hip Professionals

April 8, 2023

Consumer Behavior C55.0002

Tuesday / Thursday 3:30 – 4:45

Ariel Bitran ab2490@nyu.edu

Cheryl Neoh lxn201@stern.nyu.edu

Jeremiah O’Neil jeremiah.oneil@nyu.edu

Erica Swallow ericaswallow@gmail.com

Andrew Wong andrew.wong@nyu.edu

I. Executive Summary

To take advantage of resurgence in vinyl record sales, our group has researched the

feasibility of repositioning Rega turntables to a younger segment of “hip professionals.” As

digital music, both purchased and stolen, has acquired a vast market share among our target

audience, the greatest challenge is convincing consumers their investment in a Rega turntable

will provide enough utility. Focus groups show that price and convenience are the two largest

factors in purchase decision-making for our target of relatively affluent urban audiophiles. Thus,

we will be highlighting the hedonic musical experience associated with turntables, while selling

the product at a competitive price. We plan to communicate the terminal values Rega offers by

using visuals that portray social praise and the ability to become an opinion leader in one’s

reference group. Ultimately, this retro brand can be revived through effective marketing.

II. Project Definition and Goals

During the 1960s and 1970s, the vinyl record was the most popular format for music

distribution. New recording techniques allowed the mass production of vinyl records, launching

the golden age of the audiophile. This era ended in the 1980s and 1990s when studios developed

new music formats; rich and warm analog sound soon gave way to cold and flat digital music.

Yet, within the past decade, vinyl records have made a comeback along with the turntables

necessary to play them. Accordingly, we have decided to reposition Rega turntables to a younger

urban market of “hip professionals,” the new consumers of vinyl records.

Rega’s turntables can address four consumer needs: access, quality, socialization, and

respect. First, high-fidelity turntables grant consumers access to analog music. Rega can satisfy

customers’ needs to play new records by repositioning complementary products. Second, modern

audiophiles often describe analog sound as being of unmatched quality, a major selling point.

Third, consumers can use record players to satisfy social needs. Unlike the iPod’s solitary music

experience, turntables play music for group enjoyment. Fourth, turntable ownership symbolizes

trendiness and musical expertise, garnering respect for young audiophiles.

For our project, we worked to resolve several key issues associated with Rega’s

repositioning strategy. First and foremost, our research considers how consumers perceive this

need-gap and whether they regard turntables as a potential solution. Along these lines, our report

also describes the target market’s current attitudes towards turntables and where these consumers

acquire information to evaluate audio technology. Our work also considers how consumers listen

to music and how consumption contexts can influence equipment used. Finally, we describe the

strategic implications for Rega and its positioning against potential competitors.

III. Preliminary Industry Investigation

Recently, the vinyl record industry has seen an unprecedented resurgence. After LP sales

hit a record low in 2006, the International Federation of the Phonographic Industry reported that

global sales doubled during 2007 from 3 million to 6 million units (Winneker). Domestically, the

Recording Industry Association of America reports 1.3 million records were sold in 2007, 36.6%

more than in 2006 (Newman). As a result, turntable sales grew nearly 80% during this same time

period (Winneker). To exploit this potential revenue stream, artists like Madonna, U2, Coldplay,

and Metallica are releasing vinyl records for both back catalogs and new hits. Moreover, retailers

like Best Buy, HMV, Virgin, and Amazon.com are beginning to stock LPs alongside their CDs.

Rega Research Limited, a premier British maker of contemporary turntables and high-end

audio equipment, is poised to take advantage of this trend. Since Rega’s launch in 1973, product

lines have included amplifiers, speakers, tuners, and its legendary turntables (“History”). The

company’s current turntable models range from the entry-level P1 to the high-end P9, and its

tonearms are highly regarded for quality performance for a low cost (Stereophile; “History”).

Currently, Rega uses minimal advertising and direct marketing communications; it instead relies

upon a small number of specialty dealers to market and distribute its turntables (“Wolfson”).

Few competing manufacturers have launched repositioning campaigns for a mainstream

youth market. Rega’s competitors are best classified by their level of price and quality. On the

low-end, the Numark PT-01 features simple construction and portability that make it fun for

amateurs, while the Pro-ject Debut III offers a low-cost and effective way to combine analog and

digital worlds through USB ports (Pell). Priced closely to Rega’s P1, the Technics SL1200 MkII

is a high-quality and durable unit targeting aspiring DJs. Though Technics’ positioning has been

towards professional buyers, its host of youth-oriented music events could help Panasonic target

a more mainstream audience (“Events”). Finally, high-end models include the Roksan Radius5

and the Michell GyroDec, which provide top-quality sound and engineering, often for more than

$1,000 (Pell). These turntables are sold through distributors; direct-to-consumer advertising is

limited and youth markets remain untapped.

Substitute goods include a variety of audio equipment like personal stereos, component

stereos, computers, CD / cassette players, and MP3 players. Rega’s greatest threat comes from

Apple’s iPod, which captures 71% of the market for digital music players (“Life Beyond”).

Priced competitively from $49 to $399 and appealing to young listeners, the iPod’s compatibility

with a various speaker systems makes it benefits relatively similar to a turntable’s (“Apple

Store”). Two other noteworthy substitutes include Sony’s lines of Walkmans and stereos for

general audience use and Bose’s high-end digital systems for affluent experts. Ultimately, Rega’s

main competition will come from outside the core turntable industry.

IV. Nature of Targeted “Hip Professionals”

We plan to target relatively affluent urban audiophiles, aged 18 – 34, who are willing to

experiment with this growing trend. These consumers are young, progressive, socially active,

and influential among their peers. They may currently be college students or up-and-coming

professionals, but they still invest considerable time and money in clothing, culture, and causes

that help them stand apart. Self-expression through sketching, blogging, and other creative

pursuits is encouraged by their participation in both online and offline communities.

Similar to traditional hipsters, these consumers stand apart by embracing non-mainstream

trends like alternative music and vegetarian/vegan foods. The experiential qualities of goods and

services are valued above price, making the rich sounds of analog music an appealing draw. Our

target enjoys music-oriented magazines like FADER and websites like Pitchfork. Publications

like Nylon and Radar are also popular. This group is likely comprised of Enterprising Young

Singles and Twentysomethings under ACORN segmentation and Young Literati and a Bohemian

Mix under PRIZM segmentation. Furthermore, our target has high levels of education and

income, ensuring that that they have the purchasing power necessary to invest in a turntable.

V. Focus Group Selection and Execution

Focus groups interviewed samples of 5 to 8 hip professionals including men and women

ages 18 – 34. For two sessions, we obtained a convenience sample of people shopping at music

retailers like Union Square’s Virgin Megastore who met the outward description of our target

market. Another focus group consisted of slightly older participants familiar with the music

industry. Finally, we solicited participation from NYU students living in music-oriented floor

communities through two separate focus groups to obtain the perspectives of younger members

of our target market. There was little variance between focus groups, and facilitators asked

questions from our Moderator’s Guide (Appendix A) and exposed participants to the concept

statement (Appendix B). We asked permission to make audio recordings, which helped when

transcribing participants’ comments (Appendix C). After each session, we distributed a

questionnaire to obtain more information about the focus group participants (Appendix D).

VI. Focus Group Results by Area of Inquiry

1.) Where do you purchase your music? What medium do you usually buy?

The majority of respondents do not purchase music. Instead, participants acquire music

through illegal downloading via file sharing clients like LimeWire. However, respondents dislike

the risk of viruses, time costs, and guilt. Purchasers obtain music from buying CDs at electronics

retailers or downloading MP3s through Apple’s iTunes. Reasons for purchasing CDs include

supporting artists, owning tangible music, and attaining limited edition songs only found on CDs.

iTunes users purchase downloads because they find it convenient, despite Apple’s Digital Rights

Management system; there is little search cost and users can quickly download entire albums.

2.) What qualities do you look for in the music that you listen to?

Many respondents look for interconnectedness between their music and the relationships

between music artists. Most respondents look for music that fits their mood and taste at a given

moment, often corresponding with an activity. For example, a quick tempo creates a mindset for

exercising whereas soft tones create a soothing environment for studying. It is inferred that

actively listening to music—listening without allowing other distractions—is becoming rare.

3.) Please describe the atmosphere under which you listen to music.

When participants describe their general listening environment, they note two opposing

situations: total isolation or social settings. When listening to music aloud alone, the platform is

usually a laptop or personal computer. In social settings, on the other hand, music is used to

generate socializing activities like dancing and singing with computer or iPod speakers.

4.) Where do you get information about music? What about audio technology?

Participants get information about music from various sources, most important of which

was word-of-mouth. Online user generated content sources include Wikipedia, social networks

like Facebook, and blogs like PerezHilton. Preferred online recommendation systems include

Pandora and iMeem. Although print is giving way to the Internet, Rolling Stone is still respected.

However, television channels like VH1 and MTV are no longer used for music information.

Sources for audio technology information are even more varied. People use sites like the

New York Times, CNN, music blogs, and reviews on retailers’ sites. Several participants obtain

information from trade publications like Stereophile and Soundstage. Respondents were also

open to introductory announcements from vendors. Again, word-of-mouth is very influential.

5.) What kinds of audio technology do you own? When do you use each kind?

Participants own various types of audio technology, with almost all catering to the digital

music experience. Common examples include the iPod and other MP3 players, the iHome,

laptops, speakers, and headphones. Although some respondents own CD players, radios, and

boomboxes, they no longer use them because these technologies have become obsolete.

6.) Describe your experiences with and attitudes towards turntables and vinyl records.

Participants had a very positive impression of turntables. One group referenced their

nostalgia and history. The 1950s and 1960s, the Beatles, and other iconic music artists lent a

“cool and retro” aura to the device, and its simplicity was appealing. Though many participants

had a strong connection with the turntable, few people had heard one play. Most impressions

came from exposure to period films and cues taken from parents’ and grandparents’ stories. A

second group of participants learned of turntables from modern disc jockeys (DJs). Participants

who associate turntables with DJs see turntables as a contemporary, urban, and “hip.”

7.) What is your reaction towards Rega’s turntable line?

After presenting the concept, initial reactions were mostly favorable. Several people said

the idea of owning a turntable like a DJ was “classy,” but no one referenced the specific benefits

stated in our concept statement. Moreover, most positive comments were about the device’s

color, design, and decorative potential. Hedonic benefits trumped functionality.

Unfortunately, commentary generally grew less favorable as participants focused on how

they would integrate a turntable into their lives. Switching costs were key—many people cited

their incompatibility with digital music, lack of playlist functionality, inability to shuffle songs,

and limited portability as challenges to overcome. Opportunity costs from searches for records

were another concern. Yet, a few participants could envision buying a turntable. Most of them

felt that owning a record player would be more realistic when they were older professionals with

apartments. Turntables could also make a great gift for less technologically savvy parents.

8.) How would listening to a Rega turntable compare to other popular technology?

Would you consider purchasing a Rega turntable? Why or why not?

Participants agreed that Rega turntables would provide a more experiential and active

listening experience that was described as “classy.” Overall, social gatherings seemed to be the

venue where buyers could extract the greatest value, as a turntable would facilitate communal

music enjoyment and serve as a conversation piece that could garner respect for owners.

Yet functional drawbacks prevailed. “The sound would be much better,” said one person,

“but the convenience wouldn’t be good at all. […] I wouldn’t consider getting one.” Several

participants cited learning barriers and incongruities with digital music playback conventions as

major obstacles. Despite our survey’s finding that participants felt the listening experience would

be moderately different from that of other music equipment, turntables rank ahead of only

portable CD players in enjoyableness (Appendix D). In purchase likelihood, they ranked last.

However, participants indicated that purchasing a turntable might be more likely as adults.

10.) In which price range would you place Rega’s turntables?

Though several respondents would only spend $30 to $50 for a record player, most priced

a Rega turntable between $200 and $300. Many people specifically referenced the iPod and other

MP3 players as a source of their reference price. Industry insiders had more experience with

complex music equipment and placed a Rega turntable’s value in the $300 to $400 range. On the

whole, respondents felt that a Rega turntable may be too expensive for their present budget,

especially when considering the purchase of complements like speakers and records. Several

people felt purchase was more likely once they have “a good stable home and a steady income.”

VII. Implications for our Marketing Strategy

A. Product

The Rega turntable line starts with the P1 and rises in quality up to the P9. Many

consumers cited switching costs associated with new learning as key purchase barriers, so our

marketing would focus on Rega’s entry-level P1 turntable. Users can activate this model with a

simple on/off button. Moreover, the product is sold with a detailed instructional guide and with

most settings already preset for the user. We would also update Rega’s website to include more

easily accessible information about turntable operation, technical support, and locating

compatible equipment. All Rega turntables come with a 3-year warranty that we will emphasize

to reduce the financial risk and value barriers that focus groups referenced.

Target consumers expressed interest in using turntables as conversation pieces to obtain

social praise. Accordingly, we would maintain the P1’s sleek design while imbuing it with the

P3’s more vibrant selection of color including Saffron Yellow and Posy Pink. The buyer can also

purchase a glass platter upgrade and colored mat to complement the turntable’s finish. All design

options would be available on Rega’s website to allow for model customization.

B. Promotion

Focus groups show our target obtains information about music and music technology

from various sources (Appendix C). To target music aficionados, we would break with Rega’s

traditional marketing tactics and run a direct-to-consumer print campaign in music magazines

like Rolling Stones and Spin as well as in trade journals like Stereophile and The Absolute Sound.

In terms of new media, we could advertise in online versions of such publications and promote

the P1 on Rega’s website by offering additional product and pricing information. Our target

market also indicated that advertising on social networks like MySpace and Facebook could be

effective. Television ads would likely be cost ineffective.

Non-traditional communications would include updating Rega’s sparse Wikipedia page

and leveraging music blogger influence by persuading them to write favorable reviews. Thus, we

could generate product awareness and boost brand credibility in media our target extracts music

information from. As our target market values experiences, we would organize publicity events

like casual lounge parties where target consumers can mingle, watch demonstrations, and even

test the P1 themselves. Playing off consumers’ desires to use turntables as conversation pieces,

Rega could forge partnerships with members of the design community such as artists, fashion

designers, or architects to create limited edition turntables. Furthermore, we would collaborate

with artists to use Rega turntables and record sleeves as art installations in venues like the

Museum of Modern Art. Other promotions could entail product placement in congruous films,

television shows, and sound expositions.

With strong competition from Apple’s iPod (Appendix D), relationship marketing is

essential to ensure Rega creates long-term brand engagement. Superior technical support would

help consumers overcome complexity barriers and develop a rapport with a relatively unknown

brand. Brand ambassadors nested within retailers would also allow for easy outreach. Modifying

some of the publicity events mentioned above for current owners could give consumers an

enjoyable experience that provides Rega opportunities for up-selling. And finally, co-branding

with record labels to create promotions, like sending owners a free record their birthdays, would

provide inexpensive reminder advertising that could please consumers.

Thematically, Rega’s promotions must stress three key elements. First, it must contrast

the roles of turntables and iPods. Our survey showed iPods are the most enjoyable, desirable, and

commonly owned music technology (Appendix D). Respondents felt turntables lacked the

iPods’ digital music compatibility, playback functionality, and portability. As a result, our

messages must show how turntables can complement existing music equipment rather than

replace it. Ads can portray usage situations—commuting, exercising—where listeners use an

iPod and transition into new situations—socializing, group studying—where they use a turntable

instead. If buyers see they can own both products, existing digital music libraries will retain

value and turntables would no longer be expected to replicate all the iPods’ features.

Second, messages must stress records’ hedonic benefits in a relatable way. Our concept

statement focused on functional benefits, but participants spoke positively about record players

in the emotional context of nostalgia and DJs. Nostalgia might activate negative associations

with classical music and highlight its anachronistic nature. Instead, ads should use the DJ appeal

and depict social settings where turntables allow communal enjoyment of modern music and act

as conversation pieces to garner respect for owners. This approach clearly necessitates speaking

to the ideal self based on the id, selling the fantasy of social preeminence. Rega’s current

advertising stresses instrumental goals by focusing on product features and their utilitarian

benefits (Appendix E). Targeting the id would require advertising oriented towards terminal

goals of escapism and social success. As a result, ads would symbolically show social situations

where turntable owners reap the hedonic benefits of purchase (Appendix F). And to emphasize

these benefits, Rega should use a normative approach that depicts’ our target’s reference group

as offering positive reinforcement by praising owners to justify purchase.

Third, promotions should show the accessibility of turntables and vinyl records because

focus group participants were deterred by search costs. A small amount of each message should

mention where consumers can find records and Rega turntables, either though a specific retail

partner like Virgin or through Rega’s online store. Rega’s website should also describe how to

operate turntables, as respondents indicated learning costs were another barrier to purchase.

Our strategy also entails sales promotions to entice listeners. First, records today usually

include digital tracks that allow buyers to enjoy the same music on their iPods. Distributors could

communicate this feature to reduce turntables’ perceived performance and value risks. Secondly,

we would bundle a free vinyl album with each turntable purchase, perhaps in partnership with

up-and-coming artists. This promotion could help counter turntables’ antique image and allow

consumers to feel greater purchase satisfaction by giving their new product an immediate use.

Higher satisfaction would lead to favorable word-of-mouth and ultimately additional sales.

C. Pricing

The Rega turntables cover dispersed price points ranging from $350 for the P1 to $4,595

for the P9. Because our target uses the iPod as a reference price, we will advertise the P1 model

and its relatively comparable price to lure the younger market. To satisfy our audience’s design

needs, we would make the P1 available in pantones and add a colored platter mat for $50. With

these features, our hip professional-oriented Rega P1 will cost just over $400 (Stereophile). For

high-quality turntables, this price would actually be considered a penetration strategy because it

undercuts major industry competitors to capture price-sensitive, value-conscious consumers.

However, purchasing a turntable can become more expensive as customers acquire other

components to assemble a completely functioning system. We would recommend a less

expensive selection for our price sensitive consumers. The Rega Brio 3 integrated amplifier is

available at $645 and the Rega R1 loudspeakers cost $545. Cable components can be found

inexpensively at local audio stores. Accordingly, the total cost for a full-functioning turntable

system by Rega will be $1,590. Nevertheless, this price could be significantly reduced if buyers

search for lower cost components on virtual markets. While we plan not to advertise this fact,

this information will be available on Rega’s website to help consumers educate themselves.

D. Placement

Rega is currently distributed by The Sound Organisation, which will continue to deliver

the product to hi-fi dealers. Since Rega’s repositioning necessitates reaching a new audience, we

would select venues with larger customer bases. Focus group participants indicated that selling

through big-box retailers like Circuit City and the Best Buy would cut against the grain of Rega’s

anti-digital image. Furthermore, the terminal values embodied in a Rega turntable might indicate

consumers have more hedonic shopping movies that are incompatible with the image of such

mass merchandisers. As a result, Rega’s P1 would be sold in independent and mainstream record

stores like Amoeba Music or Virgin to increase the brand’s exposure to young audiophiles and

the mainstream market in the proper context. Finally, Rega would launch a consumer-direct

online store where users can fit turntables to their aesthetic and monetary needs.

VIII. Conclusion

Clearly the success of Rega’s repositioning strategy depends upon its ability to overcome

the obstacles it faces in reaching its target. Considering the prevalence of digital music and

resultant behavior explored in our research, Rega must show that its turntable does not only fit in

consumers’ lives, but that it also represents an integral component missing from their music

listening experience. Effectively communicating this main idea to hip professionals regarding the

P1 turntable with precise promotion, competitive pricing, appropriate distribution, and

customized offerings will ensure that Rega achieves strategic marketing success.

Appendix A: Moderator’s Guide

A. Questions about Current Music Marketplace

1. Where do you purchase your music? What medium do you usually buy?

2. What qualities do you look for in the music that you listen to?

3. Please describe the atmosphere under which you listen to music.

4. Where do you get information about music? What about audio technology?

5. What kinds of audio technology do you own? When do you use each kind?

6. Describe your experiences with and attitudes towards turntables and vinyl records?

B. Introduction of Concept Statement

Rega, a hi-fidelity turntable company, is considering marketing their line of record

players to a younger, urban audience. Rega’s turntables provide access to a higher quality

musical experience, through use of vinyl records and their rich, analog sound. The line will

be sold in mass market and independent music stores, hi-fidelity audio dealers, and through

Rega’s website, where customers can customize their purchase. The purpose of this interview

is to determine your attitudes towards the purchase and usage of hi-fidelity turntables and to

better understand how your relationship with music influences your listening behavior.

C. Questions about Rega Turntable Concept

7. What is your reaction towards Rega’s turntable line?

8. How would you compare the listening experience associated with Rega’s turntables to

other popular means of listening to music?

9. Would you consider purchasing a Rega turntable? Why or why not?

10. In which price range would you place Rega’s turntables?

D. Collection of Supplementary Demographic and Behavioral Data

Appendix B: Concept Statement

Rega, a hi-fidelity turntable company, is considering marketing their line of record

players to a younger, urban audience. Rega’s turntables provide access to a higher quality

musical experience, through use of vinyl records and their rich, analog sound. The line will be

sold in mass market and independent music stores, hi-fidelity audio dealers, and through Rega’s

website, where customers can customize their purchase. The purpose of this interview is to

determine your attitudes towards the purchase and usage of hi-fidelity turntables and to better

understand how your relationship with music influences your listening behavior.

Appendix C: Excerpts from Focus Groups

A. “You download something and immediately have ten viruses. It’s not even worth the hassle.”

B. “I only listen to music from YouTube and Pandora Radio. I don’t buy it because I am afraid I will get tired of it.”

C. “Robots are telling us what to listen to.”

D. “I get a lot of my music just from sharing music with other people, and listening to other people’s playlists.”

E. “I download all of my music illegally on LimeWire. I think I bought a CD a few months ago.”

F. “If I buy a band’s CD, it is an investment for me. I feel good owning it.”

G. “Sometimes I find music distracting if I am hanging out with a big group of people. I don’t want to have to talk over the music.”

H. “I listen to music from my laptop. I only use my iPod if I am moving around.”

I. “I listen to music equally by myself and with when other people are around. I just listen to different bands and signers for each.”

J. “I think I have some artists that are like gods or semi gods that have older songs, and I listen to them because of who that person is and what they represent. Then I listen to other things because it might be connected to a good memory or a phase in my life.”

K. “It drives the mood of whatever I’m writing at the time.”

L. “I feel so strongly. I hate iPods. I think they isolate people and they turn music into a weapon. And anytime you put in your iPod you’re saying, ‘Don’t come near me.’”

M. “Until I started hearing all that stuff about ear damage, I used my iPod. Now I have these really large phat speakers sitting in my room. Unless I have listened to something on those speakers, I don’t considered it having listened to the album.”

N. “I get most of my information online. PerezHilton, TheSuperficial, and little side ads on Facebook. Also a lot of information from friends. I sometimes read The RollingStone or I’ll check out Billboard.com and download all the top songs.”

O. “I think turntables are so cool! I think that are so classy. I want one. I want one to show off. I for sure want to own one in the future.”

P. “It’s great to listen to a record on vinyl. It’s a totally different experience.”

Q. “I really like the noise the needle makes when it hits the record.”

R. “Ew. It brings back bad memories. My mean violin teacher would always use it during lessons.”

S. “Oh, if it comes in Pink then I am all for it!”

T. “I could make an art installation out of that in my house.”

U. “It would be nice to go back to a simpler time with a simpler technology. There is a lot of nostalgia.”

V. “Can you customize it? Because in that way it is very different. I guess you have to be in the mood to listen to a certain artist.”

W. “If I had a turntable, then I would have to listen to it with other people. It would be super awkward to do it by myself.”

X. “So, if I have all this stuff on my computer, then I have to buy my music all over again just so that I can play it on something else? I don’t think so. I wouldn’t be able to make my own playlists or shuffle. I would only be able to listen to one artist. That is a big impact.”

Appendix D: Post-Focus Group Questionnaire

1. Please rank (1 = highest, 6 = lowest) the following musical equipment by how frequently you use each variety. If you do not use a given type, leave the line blank.

Equipment Count RankMP3 Player 25 1.80Portable CD / Cassette Player 14 4.29Mini-Stereo 17 3.35Component Stereo 16 3.69Computer 25 1.32Turntable 9 5.78

2. Please rank (1 = highest, 6 = lowest) the following musical equipment by how enjoyable it is to use each. If you do not use a given type, leave the line blank.

Equipment Count RankMP3 Player 25 2.04Portable CD / Cassette Player 14 4.50Mini-Stereo 17 3.63Component Stereo 16 3.12Computer 25 1.88Turntable 9 3.50

3. Please rank (1 = highest, 6 = lowest) the following musical equipment by how likely you are to purchase each variety. Please do not leave any lines blank.

Equipment Count RankMP3 Player 24 1.63Portable CD / Cassette Player 22 4.68Mini-Stereo 23 3.74Component Stereo 22 3.91Computer 25 2.20Turntable 22 4.82

4. Please rank (1 = highest, 6 = lowest) the following music sources by how frequently you listen to music from each. If you do not listen to a source, leave the line blank.

Source Count RankAM / FM / Satellite Radio 23 4.09Downloads (iTunes, LimeWire) 23 1.30Television (MTV) 20 4.70Hard Copy (CD, Cassette, Record) 23 3.35Streaming Internet Radio 19 3.42Website Postings (YouTube) 23 2.74

5. Please list the brands you most associate with each variety of musical equipment. If you do not associate any brands with a given variety, leave the line blank.

MP3 Player Count ShareiPod 18 60.0%Zune 3 10.0%Creative 2 6.7%Sony 2 6.7%iPhone 1 3.3%iRiver 1 3.3%Motorala 1 3.3%Sandisk 1 3.3%Sansa 1 3.3%

Portable CD / Cassette Player Count ShareSony 14 73.7%Panasonic 3 15.8%Best Buy 1 5.3%JVC 1 5.3%

Mini-Stereo Count ShareSony 10 62.5%Bose 2 12.5%JVC 1 6.3%Panasonic 1 6.3%Pansonic 1 6.3%Phillips 1 6.3%

Component Stereo Count ShareSony 6 42.9%Bose 4 28.6%Bang & Olufsen 1 7.1%JVC 1 7.1%Mitsubishi 1 7.1%Pansonic 1 7.1%

Turntable Count ShareTechnics 2 50.0%RCA 1 25.0%Rega 1 25.0%

6. Please list the brands you already own for each variety of musical equipment. If you do not own any brands for a given variety, leave the line blank.

MP3 Player Count ShareiPod 18 78.3%Creative 1 4.3%LG 1 4.3%RadioShack 1 4.3%Sansa 1 4.3%Sony 1 4.3%

Portable CD / Cassette Player Count ShareSony 9 81.82%Panasonic 1 9.09%Virgin 1 9.09%

Mini-Stereo Count SharePanasonic 2 33.3%Sony 2 33.3%iHome 1 16.7%Unknown 1 16.7%

Component Stereo Count ShareSony 3 60.0%Bose 1 20.0%RCA 1 20.0%

Turntable Count ShareTechnics 1 100.0%

8. Please list the brands you would consider purchasing for each variety of equipment. If you would not purchase any brands for a given variety, leave the line blank.

MP3 Player Count ShareiPod 14 77.8%Zune 2 11.1%Creative 1 5.6%Sony 1 5.6%

Portable CD / Cassette Player Count ShareSony 7 70.0%Panasonic 2 20.0%Toshiba 1 10.0%

Mini-Stereo Count ShareBose 3 42.9%Sony 3 42.9%Panasonic 1 14.3%

Component Stereo Count ShareBose 3 50.0%Sony 2 33.3%RCA 1 16.7%

Turntable Count ShareRega 3 60.0%Technics 2 40.0%

9. Please rate how much you agree with the following statement: “Owning a Rega Turntable would provide unique features and benefits that are appealing to me.”

Highly Disagree Highly Agree

10. Please rate how much you agree with the following statement: “A Rega Turntable provides a different type of musical listening experience than other equipment.”

Highly Disagree Highly Agree

11. Please rate how much you agree with the following statement: “Investing in a Rega Turntable to complement my other music equipment would offer significant value.”

Highly Disagree Highly Agree

2 4 7 5 6 1

0 3 1 6 10 5

Average Rating

•3 6 10 4 0 2

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Average Rating

•

12. Please rate how much you agree with the following statement: “I would consider purchasing a Rega Turntable.”

Highly Disagree Highly Agree

13. Please provide the following demographic data:

Gender Count PercentageFemale 17 68.0%Male 8 32.0%

Age Count Percentage12 – 17 3 12.0%18 – 24 12 48.0%25 – 34 8 32.0%35 – 50 2 8.0%Average 24.9

Appendix E: Rega’s Current Advertising Style

Average Rating

•4 9 4 3 4 1

Appendix F: Advertising Layout Mock-Ups

Works Cited

“Apple Store.” Apple. 2008. 5 Dec. 2008. <http://store.apple.com/us>.

Dell, Kristina. “Vinyl Gets its Groove Back.” Time. 10 Jan. 2008. 24 Sept. 2008. <http://

www.time.com/time/magazine/article/0,9171,1702369,00.html>.

“History.” Rega Research Limited. 2004. 30 Nov 2008. <http://www.rega.co.uk/index2.htm>.

Hunt, Kevin. “The Tables Are Turned: Phonographs Are Cool Again.” Hartford Courant (25

Sept. 2003): 21. ProQuest Newspapers. ProQuest. NYU, Bobst Lib., NY. 30 Nov. 2007

<http://proquest.umi.com/pqdweb?

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&RQT=309&VName=PQD&TS=1228099085&clientId=83650>.

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www.panasonic.com/consumer_electronics/technics_dj/events.asp>.

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search.ebscohost.com/login.aspx?direct=true&db=buh&AN=34183249&site=ehost-

live>.

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2008 <http://www.latimes.com/entertainment/news/business/la-et-vinyl18-

2008aug18,0,2834344.story>.

Pell, Alex and David Price. “Get into the groove with the revival of vinyl.” The Sunday Times

(18 Nov. 2008): 16. LexisNexis Academic Universe. LexisNexis. NYU, Bobst Lib., NY.

30 Nov. 2007 < http://www.lexisnexis.com:80/us/lnacademic/results/docview/

docview.do?

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No=1&resultsUrlKey=29_T5261704839&cisb=22_T5261704838&treeMax=true&treeW

idth=0&csi=332263&docNo=8>.

Stereophile 2008 Buyer’s Guide. 26 Nov. 2008. 13, 122, 188.

Winneker, Craig. “Vinyl Gets Another Spin.” Wall Street Journal (13 Sept. 2008): W2.

ProQuest Newspapers. ProQuest. NYU, Bobst Lib., NY. 30 Nov. 2007 <http://proquest.

umi.com/pqdweb?

index=0&did=1553937741&SrchMode=1&sid=1&Fmt=3&VInst=PROD&VType=PQD

&RQT=309&VName=PQD&TS=1228097665&clientId=83650>.

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NYU, Bobst Lib., NY. 30 Nov. 2007 <http://proquest.umi.com/pqdweb?index=2&did=

70971517&SrchMode=1&sid=2&Fmt=3&VInst=PROD&VType=PQD&RQT=309&VN

ame=PQD&TS=1228096780&clientId=83650>.